Fin Al Punto the Woods So Wilde Schumann in Endenich Paradies
Total Page：16
File Type：pdf, Size：1020Kb
fin al punto Wilhelm Killmayer, geboren 1927 ill Munchen, studierte 1945 bis 1950 Klavier, Dirigieren und Komposition, Munchener Kammerorchester 1950 *his 1953 Musiltwissenschaft und war ab 1953 Leitung: Hans Stadlmair Kompositionsschuler von Carl Orff, lebt in Frankfurt1 Main. Werke fur die Buhne: ,La Buffonam<<,)Yolimba oder The woods so wilde Die Grenzen der Magiea (beide zusammen mit Tankred Ensemble nMusik unserer Zeita, Munchen Dorst) ,La Tragedia di Orfeo<<(nach Poliziano) ,Une Heinz Winbeck (Dirigent) leson de fran~ais<< Hermann Dechant (Flote) fur Orchester: Sinfonie 1 (Fogli), Sinfonie 2 (Ricor- Ulrich Stranz (Viola) danze), Klavierkonzert Erich Ferstl (Gitarre) Vokalmusik: Sappho fur Sopran und Orchester, Tre Andreas Vonderthan (Schlagzeug) Canti di Leopardi fur Bariton und Orchester, Shakes- Walter Neulist (Schlagzeug) peare-Lieder (Tenor und Instrumente), Blasons (Sopran Heidi Sepp (Schlagzeug) und Instrumente), Salvummefac (Bariton und Klavier), Hermann Holler (Schlagzeug) Altissimu (Sopran und Schlagzeug, Flote) Roland Leistner-Mayer (Schlagzeug) Peter Kiesewetter (Klavier) Chormusik: Chorwerke nach Texten von Tasso, Goethe, Wilhelm Killmayer (Darabukka) Racine, Charles d'orleans (Sept Rondeaux fur sechs Wilfried Hiller (Orgel) Frauenstimmen), Jacopone da Todi (Lauda fur Chor und Orchester), Franz von Assisi (Laudatu), Ungaretti (Cantetto) Schumann in Endenich Kammermusik: Per nove strumenti, Streichquartett Ensemble ~Musikunserer Zeitc, Munchen Paradies Wilhelm Killmayer (Klavier u.nter Mitwirkung von Wilfried Hiller) fin a1 punto (1970) Die Ruhe enthalt bereits die Katastrophe in sich. Aus der Ruhe wachst die Bewegung, die sich selbst bis an den augersten Punkt ihrer Kraft treibt, an dem sie dann zusammenfallt. Es ist der Punkt, an dem man aufgibt, hinter dem man ins Freie gelangen kann. The woods so wilde (1970) Ich gehe durch die tonkargen spatherbstlichen Walder und ich hore meinen Schritt und ich hore mein Herz schlagen; ich hore die Gerausche der langsam sich erge- benden Natur und den Widerhall eines Vogelschreis in meiner Erinnerung. Immer tiefer ,gerate ich in das Innere, wo Erschrecken und Ruhe sich nahe sind, wo die Furcht stillhalt. Schumann in Endenich (1972) Schumann begab sich in seinem vierundvierzigsten Le- bensjahr freiwillig in die Heilanstalt von Endenich; er nahm am Lebenskampf nicht mehr teil. Dieser jung- lingshafte Mensch war mehr und mehr ein ~Fremder Mannn in einer Umwelt geworden, die erwachsen, ~grofinsein wollte. Daran litt er. Die Klaviertaste war fur ihn die Nahtstelle zu einer Welt, in die er fluchten, der er sich anvertrauen konnte. Paradies (I 972) ist das Gegenstuck zur Verlassenheit, ist Zusammensein. PETER MICHAEL HAMEL How to listen to this Record This Killmayer record should be heard like a live concert where the listener is present. There are soft passages followed by abrupt bursts such that the dynamic range on the tape is too great to be transferred to the record. On account of the true concert space sound the dynamic range cannot be equalized. The transfer to the record therefore m6st be done at the expense of a few decibels; on the record Killmayer' s music should sound in an artificial space that conveys the music directly to the listener's own inner space. Yet, now there is noise. But, as to. "conditional noise" during their music, Killmayer reacts like Morton Feldman: they are an intrinsic part. The two are similar in many respects: often very soft - pianississimo - fibrous periodicity - very conscious as to the combination of harmonies and accords. Both do their composing at the piano. Both are preoccupied with the "real time". Both have a certain restlessness irrespective of (or because of?) their often quiet sdunds. Also, both do not write -out of an inner quiet but rather toward it. The great difference: Feldman lingers in the quiet - falls asleep, Killmayer seeks to relieve the tension at its climax. He is in distress himself, treads through the inner depth ("searching for the better ego") in continouos motives or in limitation to an ever repeated interval with sudden heartbeat accompaniment (melodic passages from his I I bella canzona" period). Then the climax - molto crescendo - percussion tremolo or the crack of a whip, a torrent of water. Schumann ended at Endenich. Or the inner gate opens. Longing for paradise full of anxiety - at the gate of autodissolution. Nobody can help, everybody must find the opening for himself. The present trend in music toward deepening helps Killmayer (to say it rudely). He is in high esteem by the youngest colleagues: many young Munich composers play his music. Many older ones like to accept the tension, expecting the climax. The avant-garde outlaw establishment values him less (perhaps because of this). Killmayer should have formed his feeling of time and tension by electronic media. But he has never been attracted by electronics, tapes or computers. Musico- sociologically he remains a chamber musician, he is "threatened" with the appointment to a university, he makes a living with opera for TV' and radio and theatrical music (which - contrary to teaching - is despised by Germany' s avant-garde) . He is an instrumental composer and has no technological thinking, no technical intellect but rather a literary consciousness. He is not music-immanent enough to feel himself an avant-garde, he is an ,itinerant musician. No musician, by the head but musician by thought with the inner longing to let himself loose. Killmayer's music can be listened to without avant-garde expectations ("Oh, that I have already heard from .. .") and oscillations want to be listened to neither 11apperceptively" nor emotionally, rather transcendentally. According to Orff, Killmayer' s music should be listened to in a dimmed room: tones of the soul. Musik far 8 Frauenstimmen, Chor und Tonband Music for 6 female voices, choruu and tape Musique pour 8 voix de femmes, choeur et bande magndtique Mary Lindsay Sopran Liliana Poli . (soprano) Gabriela Ravazzi I Kadigia &we Stimrnen Nriarn Acevedo Elena Vicini voix) Coro da camera delis RAI, Roma Chorleitung (Chorus master, mattre des choeurs): Nino Antonellini Tonband (tape, bande magndtique) Tontechnik (~oundengineer, inglnieur du son) : Marino Zuccheri Tonregie (sound direction, r6gie sonore): Luigi Nono Recordings effected at the Studio of Fonologia of RAI, Milan-Italy @ G. Ricordi &C. s. p. a. Milan- Italy Q 1974 Polydor'lnbrnational GmbH Produktion . Production Directeur dm production : Rainer Brock Aufnahmeleiter . Retording Supervision. Directeur de I'enregiatrement : Rainer Brock Toningenieur Recordi ~ngineer lngiinieur du son : Klau emann Ud Nono, born in Venh on January 29, 1924. Studled music wth G. F. Malipiero, Bruno Madem, Hermann Scherchen. (Atso studied humanities, gaining a doctorate in law at PaduaUniversity).Attendedthesummer schools for new muskin ~armstadtfrom1950 to 1959, and also taught there. Held courses in England (Dartington), Switzerland (Grave- sano) and Finland Ha8 travelled, lecturedand glven courses in East Germany, Pdand, Czechosloyakia, thSovmt Union, Argentina, Uruguay, Chtle, Pew, Venezuela and Cuba. In 1960 he begen hl8 expenmental studies and cornposltibn using the new electro- acust~cequipment at the R.A.I. Stud& for PhonoloOy in Mitan. Slnca 1- has held numerous discussion meetings,including per- formances of his own works, in Italian towns, workers' cultural cantres, factones and universttms These have been organised by syndicates, the P.C I.,the student movement and local bodies (the Teatro Comunale in Florence) In 1973 he spent two months parti- cipating together with a group of Italian performers, composer8 and critics in the srws of d~scusstons known as "musica realta", orgenbsed by the local authorities in Regg~oEm~lia and the metalworkers' union F.I.O.M. .